Parisian Ladies Tailoring System

TT 515

X^. SKIRTS, DRESSES,,lllitid AU Outer Garmenl'

Class.

Book_ .^Zl^p.

CoffyrightN"

COPYRFCKT DEPOSIT.

INCE the establishment of our firm 50 years

ago, the ladies of Chicago and environs, as

I fc^Ji^'

II well as our mail customers, have shown us

the most generous patronage. We have long

desired to show our appreciation of this fact.

One of our hardest task has been to find a suit-

able offering welcome and useful to all.

After entering into the merits of many proposi-

tions, we have at last decided upon the free distri-

bution to our customers of "The Parisian Ladies'

Teuloring System," which enables every one to take

measurements, make designs, cut her own patterns,

fit and make for herself or for her family, or for

professional purposes. Suits, Waists, Dresses, or any

Outer Garment, in accordance with the prevailing

styles.

It is our sincere hope that this book will be wel-

come and invaluable in every household, and that it

will be a guide and boon to the great masses of our

patrons.

The Excelsior Dry Goods Company.

PARISIANLADIES' TAILORING SYSTEM

fior

Designing, Pattern Cutting, Fitting and Making

Waists, Skirts, Dresses, Suits

And All Outer Garments

A MEANS OF SELF EDUCATION AND A GUIDE

FOR EDUCATIONAL INSTRUCTION IN TRADE

SCHOOLS AND DOMESTIC SCIENCE INSTITUTIONS

ith

Over 100 Explanatory Drawings in Text, including Four Supplementary

Charts 22x28 inches of Full Size Patterns and Grading

Instruction for Professional Designers

<.

Z. ZEISLER

Copyrighted 1917

by

A. Z. Zeisler

\o

Contents

^\^

%"<

II.

III.

IV.

Page

Testimonials 2

Charts 3

Bddy measurements; Figs. 1

and 2 4

Tlu' iiieasurenients and their

order •>

Measurements ol" lengtli and

width .')

Remarks on measurements ,")

How to talve tlie measure-

ments (i

Around the bust .... (i

Lenglli of l)ark .... fi

Widlli of haek ....Lengtli of sides .... (i

Around llie waist ... 7

Size of arniliole .... 7

Heiglit of shoulder ... 7

Around tlie liips .... 7

Width of chest .... 7

Height ol' front .... 7

Lengtli iif front .... 7

Length of slujuhler . . . S

Around the neck .... S

Length of underarm . . S

Circumference of arm . . S

Preparing our scales ... 8

Preparing the scale of

length '.I

Preparing the scale of

width 9

"J'he designing of the funda-

mental waist pattern . . Id

Remarks hefoi-e remeasiuing

the fundamental iialtern 2(1

Remeasiuing the measures

of width 21

Renieasuring the measures

of length 22

Adaption of the normal pat-

tern for changed ligures . 23

The forward bent ligure .2.'!

'''he backward bent figure . 21

The ligure with broad back

and flat chest .... 2.^

Page

V. (Continued)

The figure with full chest

and flat back .... 2(1

The figure with high

shoulders 27

The ligure with sloping

shoulders 28

The slender figure ... 29

The .short built ligure . . 30

y\. Cutting of lining and material 31

VH. Constructing the upper andunder sleeve .... 32

Renieasuring the upper andunder sleeve .... 34

YITI. Possible changes in the

fashions 35

IX. The fundamental pattern the

basis of designing andliatternmaking .... 38

X. 'file shirtwaist in its different

forms 38

XT. Collar construction ... 46

XII. Pockets 50

XIII. Culls and sleeves .... 50

XIV. 'file cutting of a circular skirt

pattern 52

XV. 'fhe cutting of the gored and])leated skirt .... 50

XVI. Changing the fundamental

pattern to seamed shoul-

der effect in front andback CI

XVII. ,\rraiiging the pattern for

suits, .jackets and outer

garments 64

XVIII. The cutting of collars for

tailored suits and cloaks . 06

XIX. 'file cutting of capes from the

fundamental pattern . . 82

XX. For ])rofe;;sional designers:

"The Grading" .... 85

Tables I, II, III, IV, folded at end of book:

I. Scales of length and width, "Original size."

II. Full sized fundamental pattern of ba.sciue and sleeves.

III. and IV. "Grading" for Professional Designcr.s.

JAN 10 tyi8

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Preface

VERY woman's ambition is to be at least as perfectly gowned

as her neighbor. The secret of correct gowning lies in the

correct fit of the garment to the individual figure of the

wearer.

We know that the styles change frequently from season

to season, but we must bear in mind that the underlying principle is

the "Fundamental Pattern " the so-called "Basque, " and after ^ve

have this, we are able to execute any desired style according varia-

tions in vogue.

Many of our Cutting Academies, however, which still cling to

"Old Worn Out System" make a number of body measurementsthe basis of their instructions and graduate their pupils with a stock

of stereotyped patterns in hand, and numerous sets of figures in

mind, of which memory soon makes a jumble.

Some of our tailors and dressmakers in consequence make the

sad mistake of attempting to use one pattern for all figures, without

discrimination. They reason that all that is needed is a little "taking

in, " or a "little letting out" of the original pattern in order to makeit conform to the slim or stout figures of their patrons. As actual

trial soon convinces them of the incorrectness of their w^ork, and of

the impossibility of fitting individual figures in this fashion, they are

compelled to waste not only their time and labor in making neces-

sary alterations, but also wear out the patience of their patrons, andin the end they turn out garments which are seldom perfect fitting,

comfortable and chic.

For several years there has been a widespread demand for

some rational course in Pattern Designing. The author, through long

years of experience in foreign countries, and for years in Nev^f Yorkwith one of the largest wholesale houses as designer and pattern

cutter in ladies' w^earing apparel of all descriptions, has planned this

book to serve as a basis for such a course. At the same time its

careful omission of all technical expressions, and its plain, simple

language cannot fail to recommend it as "A SELF INSTRUCTOR"to home dressmakers who desire well fitting clothes.

In pattern designing there are three important considerations

to bear in mind: 1) That all figures are fundamentally similar.

2) That no two human figures are exactly alike. 3) That styles

vary with the seasons.

Hence the author has sought to explain first, the making of a

FUNDAMENTAL PATTERN, and secondly, all changes of formand style that can be made by modification of this pattern.

It is certain therefore, that this book will be a boon to those

who give instruction in dressmaking courses, to thousands who havechosen dressmaking as a profession, and also to the home dress-

maker.A. Z. Zeisler.

PARISIAN LADIES' TAILORING SYSTEM

Testimonials

From Louis Grancr & Co.. Cloaks, Mantles, Etc., 305 Canal St.. New York, N. Y.

To \vhoni it may concern :

I consider the cutting system of Mr. A. Z. Zeisler as practical ami useful to

LOUIS GRANER.ladies makiufi' their own garments.

Ji/^^.

-^^^.^

^,^.

From L. Adler,

Manufacturer of Furs,

39 St. Marks Place,

NcAv York, N. Y.

To Mr. A. Z. Zeisler

:

At your request I herewith cheer-

fullj' testify that 3'ou have been mak-

ing i^atterns for my customers, and

that the garments tlius made fit ex-

actly without being tried on fir.st.

Therefore I, as well as my Inisiness

relations, are thoroughly pleased

with your system.

Respectfully,

L. ADLER.

Mr. A. Z. Zeisler, Practical Designer, Clevelaiul, Ohio.

At present in Cleveland.

Dear Professor

:

The luulersigned, a committee of your pupils, beg leave to hand you here-

with a medal as an inadequate mark of our highest respect and our sineerest

appreciation of you as our teacher. AVe shall ever remember the most valuable

course we went through, aided by your unerring guidance and your lucid explana-

tion of the Tailor Sy.stem. Well may Ave congratulate ourselves to have found

your method so plain and instructive that after attending your course but for four-

teen evening lessons, we are now fully enabled to make all kinds of patterns in the

ladies' dresses and cloak branch, and to grade them most accurately, in a way sur-

passing all that was known heretofore.

All of which we beg to otTer in the name and as the true sentiment of the

pupils of your evening course.

Very Respectfidly,

THE COMMITTEE.Adolf Barber, J. Goodman, C. Goodman.

PARISIAN LADIES- TAILORING SYSTEM

Charts

(At end of volume.)

TABLE I

The Scales of Length and Width in Original Size

The scales of length divided into sixteen (16) equal parts from

a 13-inch length of back to ITJ inches.

The scales of width divided into eighteen (IS) equal parts

from a 30-incIi (1.5-ineli lialf measurement) to 4S-inch (24-inch

half measurement) around the bust.

TABLE II

A Full Sized Fundamental Pattern of Basque and Sleeves

A full sized 86 figure fundamental pattern of basque and

sleeves, with a scale of all width and length measurements andconstruction lines, showing how they are made.

For Professional Designers

(See explanation on page 85)

TABLE III

The grading of upper and under sleeves, in full, from a 36

figure down to 30, and up to 48, giving a tabulation of all the

necessary measurements.

Table IV

The proper grading of front, back, and side parts in full.

from a 36 figure down to a 30, and up to a 48 bust measure, ac-

companied by a chart giving all required measurements, and also

showing the construction of the seamed front made from a loose

one.

Around the Bust.Length of Back.Width of Back,Length of Sides.Around the Waist, 10.

Size of Armhole.Height of Shoulder,Around tlie Hips.Width of Chest.Height of Front.

11.li;.

*13.14.

Length of Front.Lengtii of Slioulder.Around tlie Necli.Lengtii of Under Arm.Circumference of Arm.

* Record One-half of all Measurements Marked (*).


The Measurements and Their Order

(See Fig. 1—2)

The measurements are very important. Their chief purpose is to give a thor-

ough knowledge of the build of the body for whioh tlie garment is to be made, andby their means we are enabled to make our pattern correctly and easily for the

model.

The diagrams. Fig 1—2, show in which way and in what order the measure-

ments are to be taken. After some practice and experience we will be able to pro-

duce any style of garment to correspond to these given measurements.

In the making of waists, suits, skirts, and all outer garments, we need the

following fifteen measurements in order.

*1. Around the bust2. Length of back

*3. Width of back4. Length of sides

*5. Around the waist

6.

7.

*8.

*9.

10.

Size of armholeHeight of shoulderAround the hips

Width of chest

Height of front

11. Length of front

12. Length of shoulder''lo. Around the neck14. Length of inider arm15. Circumference of arm

Measurements of Length and Width

(See Fig. 1—2)

In taking the measurements we notice that all our measurements are

length and width measurements.

The Measurements of Length Are:

4.

7.

Height of front

Length of front

12.

ILLength of shoulderLength of luider arm

Length of back 10.

Length of sides 11.

Height of shoulder

All length measurements are to be recorded in full.

6. Size of armhole. 15. Circumference of arm, altho not length measurements are also recorded in full.

The Measurements of Width Are:

*9. Width of chest'^IS. Around the neck

*1. Around the bust I*5. Around the waist

*3. Width of backI

*8. Around the hips

In the width measurements only one-half of the measurements taken arerecorded.

Remarks on Measurements

In oi'der not to omit any measurements and to avoid mistakes, it is advis-

able to take a strip of paper numbered and marked with the 15 measurements in

order. This Avill be of great help to the beginner.

All of the examples given in this book are based upon 36 bust figure witha length of back of 15 inches.

Figs. 1—2 show that in taking the measurements we begin from the back of

the model, measuring, namely:

*1. Around the bust2. Length of back

*3. Width of back

4. Length of sides*5. Around the waist

6. Size of arm hole7. Height of shoulder

Record One-half of all Measurements Marked (*).


Tliis done, we proceed from the front of the tigure, as shown in Fig. 1—

2

and measure

:

*8. Around the liips

*9. Width of chest

10. Height of front

11. Length of front

12. Length of shoulder*13. Around the neck

14. Length of under arm15. Circumference of arm

How to Take the Measurements

(See Fig. 1—2)

All the measurements given in the column to the left are those of a regular

36-inch around th<' bust figure, with a length of back of 15 inches. All illus-

trations in this book are based on the same model.

*1 . Around the Bust

Around the bust,

18 inches.

One-half of tin- bust meas-ure.

This measurement is taken from tlie back of

the model, around the fullest part of the

bust, under the arms, and around the back,

about six inches below the collar.

Record onlv one-half.

2. Length of Back

Length of back,

15 inches.

"Write as follows

:

15/26/51By this we understand

that our length of

back is 15 inches to

the waist line, 26inches for jacketlength, and 51 inches

from the neck bone to

the bottom of the skirt.

Take this measurement along the center of the

back, from the neck bone down along the

spine, to the waist line, and

Record in full.

If we take this measurement for a jacket or

coat, we write this length also.

If Ave wish to take the measurement for a skirt

we record all three in full, as shown in the

opposite colunni.

* 3. Width of Back

*3. Width of back,

62- inches.

One-half of the measure.

lie careful to take this measiirement neither

too narrow nor too wide—always according

to the actual fashion—across the back fromone armhole to the other, with the armsdropped in natural position at sides.

Record onlv one-half.

4. Length of Side

4. Length of side,|

8-i inches. JWrite 8-1/27/52, as the ^

three desired lengths,[

This measurement is taken from the arm-pit to the waist line. For jackets and skirts

measure down to the desired lengths, andrecord as shown in the opposite column in

full.

•Record One-half of all Measurements Marked (*).


5. Around the Waist Measurement

Around the waist,

13 inches.

One-half of tlie measure-ment.

JW(> take this

where the

marked, and

measurementwaistline is

frommost

Record only one-half.

the back,

distinctly

Size or armhole,

16 inches.

6. Size of Armhole

f Taken from the back around the arm socket,

Jwhere the sleeve joins the dress. Take care-

fully, as arms are differently developed.

Record in full.

Height of shoulder,

33i inches.

7. Height of Shoulder

This is an important measurement, as somemodels have sloping and some high shoul-

ders. Begin at the waist line in the center of

the back, run over the highest point of the

shoulder, along the most developed part of

the bust, down to the center waistline in the

front.

Record in full.

8. Around the Hips

*8. Around the hips,

20 inches.

One-half.L

Tliis measure is taken from the front aroundthe most pronounced part of the hips, about7 inches below the waistline.


*9. Width of chest,

8^ inches.

One-half.

Width of Chest

Take along front from one armhole to the other

in a downward inclined bow line over the

most developed part of the bust.


10. Height of Front

10. Height of front,

21 inches.

1

Begin at the back neck bone at the base of theneck, run over the shoulder to the center of

the front to the waistline.

Record in full.

11. Length of front,

16/26/51

I I. Length of Front

^ Tliis measurement begins in front at the baseof the neck and runs down to the waistline.

J For jackets and skirts, measure down to therequired length of these garments.

Record in full.

Record One-half of aU Measurements Marked (*).


12. Ijciigth of shoulder,

5 inches.

12. Length of Shoulder

Measure I'l-oui the base of the neck along shoul-

der to the arm socket. This length dependsupon prevailing fashions, and could be madeshorter or longer, as explained later.

Record in full.

*13. Around tlie neck,

64 inches.

*I 3. Around the Neck

/Run the tape measure around the base of the

neck.

Record one-half.

1 4. Length of Under Arm

14. Length of under arm.

8J—18 iuchea.

M<'asuri' fi'oni the armpit down to the inside of

the elbow .ioint then down to the wrist,

and reco^'d botii of the ascertained measuresas shown in opposite column.

Record in full.

15. Circumference of Arm

15. Circumference of arm,10 inches.

Pass till' tape around tin- thickest part of thearm, ami

Record in full.

Preparing Our Scales

(See Tables I—IT at end of Volume)

Since our system is based \ipon length and a\ idth measurements, we need

cori-ect scales of mi-asuri'mrnts in order to design a fundamental pattern for each

model.

Our scale of length is based upon measurenu'ut (two) 2. the length of back.

The scale of width depends upon measurement (one) 1, the around the bust

measure.

In our previous study we saw that the length of back of a regular 36

figure is 15 inches and that 18 inches was recorded as one-half of the around the

bust measurement. With these in mind we are ready for our scale.

* Record One-half of aU Mpasiirements Marked (•).

.PARISIAN LADIES' TAILORING SYSTEM

The Scale of Length

Take a strip of paper one inch in width, exactly as long as the length of

back to the -waistline. In example cited tliat lengtli is 15 inches.

Fold this strip of paper into four equal parts, and each of these divisions

again into four equal parts. Thus the whole length of back is divided into

sixteen (16) parts, which serve as our scale of length.

Kemember that if the length of l)ack is shorter, the divisions will be

shorter, and if we have a longer length of back, the divisions will be longer,

but the length must always be divided into sixteen (16) equal parts.

The Scale of Width

In preparing the scale of width, do not forget that we use as a basis one-

half of the around the bust measurement.In our illustration of the 36 model, werecorded 18 inches.

Cut a strip of paper one inch (1) wide, exactly one-half as long as the

around the bust measure. Fold inta three equal parts. Then refold each of

those equal parts into three. Next fold each of these nine (9) equal parts in half.

We have now eighteen (IS) equal parts.

In tlu' illustration each of these parts is one (1) inch long, but do not

forget, 1st. that tin- size of the parts vary with the bust mea.sure ; 2d, that

,

one-half of the around tlie bust measure is always divided into eighteen (18) equal•^ parts.

Remarks About the Scales

For convenience in making the scales of length and width easily and cor-

rectly, 3'ou will find at the end of the book in Table I, scales of length from13 to 174 inches length of back, and scales of width from 15 to 24 inclies one-half

aro^^nd the bust measurement.

These scales of length and scales of width in Table I should be used for

both Df our scales, as they have the advantage of being divided correctly.

If we copy these scales of length and width from Table I and paste each

on a separate strip of cardboard, we have both of our scales in readiness for anysize of figure, and thus avoid wasting time preparing them when needed.

For the pupil it is of the greatest importance to know how our scales of

lengtli and width are prepared for any figure, should he be called upon to

make these scales himself.

Bear in mind simpl.y that the scale of length is always divided into six-

teen (16) parts, and the scale of width always into eighteen (18) equal parts.

"With the length and width scales in hand, we are now prepared to start

the designing of our fundamental waist pattern.

10 PARISIAN LADIES' TAILORING SYSTEM

The Designing of the "Fundamental Waist Pattern'

TTT TTT TTT TTTTl

Z e ^ 9 9 f^ 8 O 01 II ol

Fig. 3

TAILORS' SQUARE

Fig. 3A

TRACING-WHEEL

Fig. .3 shows us a tailoriv square. Fig. 3A, a traeing-

H-lu'cI. Both are needed for correct drawing and tracing.

"Witli this tailor's square wt' ju-epare on a sheet of paper

lines perpendicular to each other, as shown in Fig. 4, and

mark the same A—B and A—C.

PARISIAN LADIES' TAILORING SYSTEM 11

B

Fig. 4

Reduced to One-fourth

Mark the horizontal line A—B and the vertical line A—C.

A

2

81 12^ 17 19

Fig. 5

Reduced to One-fourth

B

51

8i

14J

Having drawn our lines perpendicular to each other,

we begin to mark the points of widtli with our scale of

width, along our horizontal line from A to B, as shownin Fig. .5.

Using one part of our scale of width as our unit of

measure, we mark off respectively 4, 8j, 1^^, 17, 19 times

this distance along A—B, thus adding one unit part to

our scale of width. These points we call our width points.

With one part of our scale of length as our unit of

measure, we proceed, according to the diagram in Pig. 5,

to mark off 2, 5^, 8^, 14^ times the length of this unit

from A toward C, and call these points our length points.

We readily see that the length and width points varywith the size of each of the equal parts of the scale, for

we must not forget that the length of these parts are

1/16 and 1 IS of their respective measurements.


Next we take measurement 11. Length of front, sixteen (16) inches in the

illustration, hut always the exact measurement of the lengtli of front of the model,

and beginning- at the length point 2, measure this distance along A—C. Letter this

point z. as sliown in the illustration. Fig. 5.

Fig. 6

14.1

8^ 121 17 19B

Fig. 6 shows vertical lines drawn from the width points parallel to A—

C

and horizontal lines drawn from the length points parallel to A—B.

The numberings of our length and width jioints are necessary only in the

beginning, as an aid in memorizing these dimensions. They may later be omitted

in making the fundamental pattern.


In Fig. 7 we have added certain lines and points to our preceding figure,

namely

:

1st. An auxiliary line parallel to A—B, drawn from a point -]- inch above z.

2d. An auxiliary line parallel to A—B, drawn from the point b. Avhich

is one (1) inch above the auxiliary line previously made, or Ij inches above z.

Fig. 7

8i 12^ 19

51

3d. Point a. Avhich is one unit part of our scale of width from point 2. Thebow line from a crossing our 5^ line and ending about half way between Si—14-J-

on the vertical line A—C, forms our front line.

4th. The auxiliary line from point 17 to 5^ gives us the back shoulder line.

5th. The auxiliary line from point 4 to the point Avhere 5i meets 19 is ourfront shoulder line.

6th. The auxiliary line from point e to 14J indicates to us the height of ourdarts or dart.

7tli. The full line extending through f—g to the z line is our center backline.

8th. The points c, one unit part of the scale of width, and d, one-half ofone unit part of our scale of width, measured respectively from points wliere line

5| crosses lines 8^ and 12i.These points will be used in connection with the formation of armhole

lines.


Fig. 8 shows us all the points formerly explained with the followinp- addi-

tions :

Fig. 8

12.1 17 19

5i

8i

14J

m.

B

At a distance of two unit parts of the scale of width the points k and 1

are placed respectively to the left and right of the intersection of line 4 and the

bottom line. These points are connected with the dart line 14^ e at line 4, and

thus form our dart.

The curve that begins at the auxiliary front shoulder line, passes

through c. m, d. to tlie intersection of the line 5^—17 and the full 12^

line. This gives the armholc.

From point 19 measure down a distance equal to one unit part of our scale

of length and mark this point s. Connect 17 an(l s with a curve line, to secure

the back line collar cut-out as marked in lines.

From point s through points f and g, along the center back line, the dis-

tance s— i equals the length of liack measurement (15 inches according to our

model figure).

At i we have i—j perpendicular to s— i meeting the 121- hne at j.

From point i, i—o is parallel to auxiliary line b.

Point o is connected with 1 by a curve wliicli passes through r. This curved

line represents our front and side waist line.

Point m is about one unit part of our scale of width distant from the inter-

section of line 8-1 and 8i. From point m the line m—n is drawn to about the

center of the lowest line'. The points need not be exactly measured, as any devia-

tion to either one side or other does not aflfect the correctness of the pattern. If

both are located about centrally between 81 and 12i the side effect of pattern is

better balanced.


In Fig. 9 we see the same lines we have mentioned in our former tigure plusthe following:

ig-


From till' foot of our back side line we measure on line z a distance equal

to one-half of the unit part of the scale of width. From this point we draw a

straight construction line in lines to our back side line, which it meets

about lialf way between 8| and Hi. From here we follow the back side curve

to the 8^ line and thence curve to d. This gives us the side part that connects

with tlie back.

From u measure both right and left a distance equal to one-half a unit

part of our scale of width and connect both these new found points and m with

line.

We note also that in lines to point v, a little rounded cut-out gives

the side piece a correct curve-in at the waist line. We next extend the waist

line from o to this line.


Prevailing fashions dictate -whether tlie back or the side parts shonld be

narrow or wide, and accordingly we either make narrow backs and wide side parts,

or vica versa, as either would be correct, and would make no particular difference

in the structure of the pattern. In the same way we make our front parts narrower

or wider, as we shall see in our next figure.

In Fig. 10 we see exactly the same as in our former figure. We have omitted

all our construction lines for our fundamental pattern, and have worked instead

in heavy lines. Our remarks following explain our new lines.

Fig. 11

In this figure we notice at a glance that our back side line, which joins our

side piece is longer at the top and shorter at tlie waist line, and that the corre-

sponding side line of the side part is shorter at the top and longer at the waistline.

But after cutting out our pattern we will find that both of these correspond ex-

actly in their length from the top to the waist line.

In Fig. 10 we find in and in lines an illustration of the

making of a short "basque" and in heavy lines a longer differently shaped

extension below the waist line.


From our front line, l-li, we notice in lines extending toward our

end line z and beyond, a cut-out of one-half of a unit part of the scale of width

diminishing towards our hip line.

We find also that the dart line to k is shorter than the dart line to 1. Stretch-

ing the first to the length of the second in sewing, will secure a better fit.

In eases of stout figures it is of the utmost importance to make two darts

instead of one, and also two side parts instead of one, to secure a better fit, and

an exact division of breaking points. IIow these changes are made is described

and shown in Fig. \1.

From k to 1 we see our original single dart, which we have constructed in

Fig. S measuring two unit parts of the scale of Avidth on each side of line 4

along base line z.

Now in ]ilaee of this one dart we must construct two darts, but both of

these together nuist not measure more than four unit parts of our scale of width ;

that is, the exact measure of one dart.

Along line z measure both to the right and left of line 4, a distance equal

to one unit part of our scale of width, marki]ig points w and z. At these points

draw lines parallel to line 4 to meet dart line 14^ e at p and q. Nowalong line z, l)oth to right and left of line 4, mark off points at distance of i a

unit part of the scale of width, and connect respectively with p and q in

lines. Next connect by means of lines p and q. with points that measure

one and one-half (lil unit parts of th(^ scale of width from z and w.

Tims we see that each of these darts measure two luiit parts of our scale

of widiii. and are therefore no wider togctlie)- than one dart, which we remem!)er

measures four unit parts.

Now connect with lines tlie following: Dart one from the front

bottom line, to liui' ] of an inch above bottom line. The second dart

line of the first dart, with the first dart line of the seeond dart, from tin- bottom

line to line i of an inch above bottom line. The second dart and

point r.

The corresponding edges of the darts are not identical in length, but nuist

be stretched, as we found it was necessai-y to do in the case of the single dai-t in

order to secure shapeliness in the garment.

"We further see in Fig. 11 the division of the one side part of our previous

figure into two side parts, which we can make narrower or wider at will. Wemust, however, bear in mind that the width of the cut-outs between the two side

parts and the side part and front must not exceed together the width of the original

side cut-out at u, which is equal to one unit part of tlu' scale of width.

Fig. 12 shoM-s the basque waist line in line passing through 1, r,

n, and ending in line v, and the back line which is between j and i.

As we have stated before, all our jiattcrns are based on the "basque."

which is the "fundamental Avaist" patt<'rii. If, however, the basque is not de-

sired, we sec in the next figure how to make tlie necessary changes in the front

Avaist line.

PARISIAN LADIES- TAILORING SYSILM 19

Fig. 12

tions,

to prbackaside

In this fig-ure point x is taken eqni-distantfrom point A and 4 along line A—B. Now witha thread looped for a pencil, as shown in thefigure by the lines, from x as the pivot pointfor a thread held with the left thumb, describethe heavy broken ark z, u.

This gives a Avaist line which we- shall use inall future fundamental patterns.

auxiliary line i inch above was ofvalue only in the construction of the basquewaist line, and may now be omitted from ourfuture drawings.

Fig. 1.3 shows a simplified pattern withmany explanatory lines and lines that showdeviation from the original pattern, omitted.

When this pattern has been correctly drafted, according to previous instrue-.place a sheet of paper under pattern (pinning pattern and paper together

event slipping), and with tracing wheel (Fig. 3) trace the front, side, andalong the heavy lines. Next cut out the three separate pieces and laythe original drawing for future reference.


Fig. 13

With these separate pai'ts hiid l)eofore uswe proceed to remeasure our pattern.

Remarks Before Remeasuring the

Fundamental Pattern

Fig. 14—15 explain how the tliree dif-

ferent parts of the pattern, front, side, andback, are placed before we are able to re-

measure according to the fifteen (1.5) bodymeasurements previously made, beginningwith measure 1 and ending Avith 1.5.

The measurements, 8, around the liips:

14, length of arm; 15, circumference of

arm, we will find in our later diagrams.

We find that in order to measure 7,

height of shoulder; 10, height of front; 12,

length of slioulder, and 13, around the neck, we must place the shoulder of the

back to the shoulder of the front (as shown in Fig. 14—15), to enable us to com-pare these measurements with those previously made, putting the same back to

their proper places for remeasuring all of tlie other parts.

PARISIAN LADIES' TAILORING SYSTEM Z]

Fie. 14

*3.

*5.

*j

*9.

12.

13.

Around the bust, 18.

Width of back, 6i.

Around tlie waist, 13.

Around the hips, 20.

Width of chest, 8^Length of shoulder. 5.

Around the neck, 6^.

Remeasuring the Measures of Width

Li remeasuring, our pattern, -we lind siiown in Fig. li the results of the

width measurements of a model with a regular 36 bust measure (IS inches half

measure) to be namely: 1, around the bust, 18; 3, width of back, 6^; 5, aroundthe waist, 12|; 9, width of chest, 8J; 12. length of shoulder, 5; 13, around the neck,

13|. If the model is perfectl.y built we will find these correct ; the slight difference

which may occur in some measurements may be easily corrected, as we will showin the future diagrams.


Remeasuring the Measurements of Length

"\Yc liave explained the remeasurin>; of the width measures of our pattern

in Fig-. 14. The same rule applies to the remeasuring of our measurements of

length in Fig. 15.

2.

4.

6.

7.

10.

11.

Length of back, 15.

Length of side, 82.

Size of armhole, 16.

Height of shoulder, 33|

Height of front, 21.

Length of front, 16.


Adaption of the Normal Pattern to So-called Slightly Changed Figures

We would be making- a serious mistake to assumethat every tigure is perfectly normally built; that is tosay, that every tigure is built iu exactly the same pro-portion as our 36 model, given in our drawings.

In most cases, however, we are able to make slightalterations which correct the slight differences that arisethrough the variations in proportions. In such cases weconsider our figures perfect in spite of the fact that theydo not come up to the standard model.

The Forward Bent Figure

Fig 16 shows a forward bent figure. In Fig. 17, inheavy lines, we see the regular or fundamental

pattern, and in lines variations from this,

necessary for the model shown in Fig. 16. Thus wesee that iu cases iu which the back is somewhat bentforward, the back part must be a little longer, that theback shoulder with the neck cut-out nuist be changed,and that the front shoulder and front line must be short-ened. Such slight changes that may be necessary caneasily be made if a little extra material is allowed in theseams.


Fig. 18

The Backward Bent Figure

111 Figs. 18 and 19 we .see an exactly opposite case,

namely tlie backward lieiit figure. Therefore the back

must he shortened by changing the neck and shoulder

line, and both front shoulder and front line must be

lengthened. All other necessary changes are also marked

in lines, to distinguish them from the funda-

mental ijattern, marked in full lines.

Fig. 19


Fig. 20

The Figure with Broad Back and Flat

Chest

Fig. 20 shows us a wide back, and in

Fig. 21 we notice in lines all

the changes we have made in onr funda-

mental pattern, which is shown in heavy

lines.

Our back, we note, has been widened,

while the chest has been made proportion-

ately narrower. Our shoulder lines have

also been changed.


Fis. 22

The Figure with Full Chest and Flat Back

Fig. 22 shows us a figure with full chest.

In Fig. 23 we see iu lines the neces-

sary changes from our fundamental pattern. Wenotice that the back has been made narrower and

the front wider for the full bust, and that the

shoulder line of the back has also been slightly

changed.

Fig. 23


Fig. 24

The Figure with High Shoulders

Fig. 24 shows us high shoulders, and

Fig. 25 the fundamental pattern in full

lines, and the necessary changes in

lines. We have raised the

height of the shoulders of the front part

as well as the hack, as they would have

heen too low for this figure, according to

the measurements taken

We have also changed the armhole.

Tlie tape measure on these three parts

shows these changes clearlv.

Fig. 25


Fig. 26

The Figure with Sloping Shoulders

Fig. '26 sliow.s us the sloping shoulder.

lu Fig. 27 we see that we have increased

the slope of our shoulder lines in

lines, in order to make the measurements

of the height of shoulder correspond to

the measurements of our model in Fig.

26.

Tiu' armhole has also heen slightly

altered.

Fig. 27

PARISIAN LADIES" TAILORING SYSTLM 29

Fig. 28

The Slender Figure

Fig. 28 shows us a slender figure, in which

the following measurements are longer than the

normal model : the length of the back, the

length of sides, the height of shoulder, the height

of front, the length of front, and the length of

under arm.

The lines in Fig. 29. indicate the

slight changes to he made in the fundamental

pattern, if after re-

measuring we notice

that the length meas-

urements of the pat-

tern do not exactly

agree with those of

the model.

In drawing our

fundamental pattern

all these parts will

work out correctly.

Fig. 29


The Short Built Figure

Fig'. 30 slioAvs the sliort built figure, and there-

fnrr the fuudinniMital pattern must lie shorter

tiiau tile uornuil.

In Fig. 31 the lines, marking length

of back, length of sides, height of shoulder, height

of front, and length of front are shorter than the

full lines marking the original fundamental pat-

tel'll.

e no^v given the most important devia-

nornnd which the pupil mayencounter in actual

work Avith different

models, and we havetried to show how to

meet these difficulties

by making the cor-

rect variations in

our patterns.


The Cutting of Lining and Material

After all corrections liave been made, and our fundamental pattern has

l)een changed to correspond with the measurements of our figure, we j)roeeed to

the cutting of our linings and materials.

In the first place we must be careful to lay out our pattern (lengthwise)

on the material, as this would lie on the body if ready to wear. The iieavy lines

indicate how much we have to add to these parts for seams, the width of the

heavy lines being the measure.

The general allowance for seams is f of an inch, except for the center Vinek.

shoulders and front line, in which case we allow | of an inch.

An extra allowance not shown in this pattern of 1| inches is made along

the front line for a hem, buttons and button holes.

On the right front, however, I of an inch of this extra allowance must be

cut away in order that this front, wliich contains button holes, shall properly

lap over our buttons, and thus give a centrally located front line.

Fig. 32. A .shows the front, B side part, C the back of our pattern.

The sleeves (which we show in our next diagram) must also lie lengthwiseon our material, if we wish the grain of the material to run the same in bothwaist and sleeve.


Constructing the Upper and Under Sleeve

In Fig. 33, D—E, and Fig. 3-t, F—G, we show the construction of two differ-

ent sleeves, the first a Avider one for use in jackets and outer garments, the

second a narrower one for dresses, suits, etc.

"We will find other sleeves in our later examples.

As in our fundamental waist pattern, we first draw the lines perpendicular

to each other with the "tailors' square," lettering the horizontal line A—B and

the vertical line A—C. From point A, along A—B, measure the width points

with the scale of width, marking off 3|, 7, SI times one unit part of the scale.

Next from point A along A—C, meas-

ure 2J and -i^ unit parts of the scale of

width. (These first two measurements of

the sleeves are always measured with the

scale of width.)

From point A we next measure 12,

21-1- and 23 inches along A—C.

(All these points are always meas-

ured in inches.)

Finish the drawing of cross lines as in

the diagram.

The distance from f to n.is li inches,

from n to d, 9| inches, making the length

of the under sleeve in Fig. 33 and 34, 17

inches for our 3G model.

But we miast remember that the dis-

tance from f to n and n to d must always

correspond to the measurements taken

from the actual figure of the model.

"We notice in Fig. 33 and 34 that from

point over 3|- to e Ave draw a semi-

circle for our sleeve ball.

"We first connect points e and f with

lines, then draw our curve e f

with a maximum distance of -] of an inch

from the lines just made. Wehave now the curve of the upper sleeve.

From point f through n, Avhich marks

the intersection of lines 7 and 12, to the

intersecting point of lines 8-|- and 21-1,

draw a curve for the underarm seam of

upper sleeve.


The heavy line connecting the last

point d with the intersecting- point of

lines 3-2 and 23 marks the bottom of sleeve.

Connect with lines the end of

bottom of sleeves and 12, for the auxil-

iary onter line of npper sleeve.

Next measure in from point 4| a dis-

tance of ^ of an inch, marking point t.

Connect o and t with a curve. From t

continue in double curves, as shown in

figure, to a j^oint a little below 12 in the

auxiliary line before made. Make the

rest of auxiliary line a heavy line. "We

now have our npper sleeve and proceed

to the under sleeve.

In Fig. 33, D, from point a, | inch

along 3^ line, above the intersection of

3^ and 2|, draw the line a—g.

Point g is half way between lines A—

C

and 3^ on line 12. Connect g and h,

which is one (1) inch along the bottom

sleeve line, also with lines. Com-

plete the heavy line a—h by connecting

the lines just made with an elbow

curve near g. This forms the outer curve

of the under sleeve.

Along line 4i mark with b a point

halfway between 3i and 7. Connect

with curve a, b. c and r, for cut-

out of under arm. Note in figure that

curve a—b reaches its highest point i of

an inch away from line a—b.

Now connecting r and n, and continu-

ing along the line of the upper sleeve

curve, we get the inner curve of lower

sleeve.

We notice lines connecting n and d which is equidistant from 7

and 8.1. This line marks a narrower nndersleeve.

In Fig. 34, F and G, the following changes have been made

;

In the upper sleeve, point t is one (1) inch instead of -] of an inch distant

from 4J. Line t—k is parallel to o—12, and line k—1 passing through the inter-

section of lines 21-J and 3^ meets the bottom line a trifle above 23.

The elbow rounding connecting these two lines near k is the same as in

Fig. 33. In the nndersleeve the lines a—g and g—h. with tlw (ll)ow

rounding near g, show the onter curve of a narrower nndersleeve. We also notice

a curve along a—g, -} of an inch from i.


Fig. 35

Remeasuring the Upper and Under Sleeves

As tlie arms in different models vary greatly in their development, wemust be eareful in our remeasuring in order to make tlie sleeve neither too wide

nor too narrow.

Fig. 3") shows how 6. size of armholi', 14, length of underarm, 15, eir-

cumferenee of arm, are to lie I'emeasiired.

If need he. wi- lengthen or shorten the sleeve a little, as the case may he,

or widen or narrow it, to make it correspond to the measurements taken.

\Ye must hear in

mind, however, that

the measure of the

top of the uppersleeve, that is the

sleeve ball, together

with the cut-out of

the u n d e r sleeve,

must a 1 w a y s be

about two inches

larger than the arm-

hole measure taken

on the model.

In finishing t li e

garment, the arm-

hole of the waist

must be stretched

while the curve of

the upper arm mustbe held in, in order

to ;_;ecure ease of

movement for the

We nnist add 1\

2 inclies to the

th of sleeves for

ng.


Fig. 36 shows oui' sleeve pattern without construct ion liiu^s. A is the

upper, and J> the under sleeve. The heavy lines, f of an inch in width, uuirk the

allowance for the seams. An extra 1-i to 2 inches, as before mentioned, must be

allowed at the bottom for inside finishing.

Fig. 36.

Possible Changes in the Fashions

The fashions may lujdergo changes, but we must always use the funda-

mental pattern for the basis for any sleeve, as arms will always have tliL^ same

shape, regardless of changes of styles.

The length of shoulder may be longer or shorter, but this need not cause

any difficulty, as the patterns may easily be changed to accommodate the style in

vogue. Our next figures show how these changes are to be made.


Fie. 37

Fig. 38

In Fig. 37, A, we see the upper part of

the front, side, and back of our funda-

mental pattern marked in full lines. In

lines we see how to make a

change for a narrower front and back

shoulder.

Always bear in mind that the auxil-

iary slioulder lines are the same, and that

only the cut-out of the armliole has been

enlarged, thereby forming a larger arm-

hole and leaving narrower shoulders.

"We readily see that we must increase the

size of the arm ball, in order to be able

to ease our sleeve properly into the arm

cut-out of the waist.

Fig. 38 shows us the fundamental

sleeve pattern in full lines and the newly

formed curve of the armball in

lines.


Fig. 39

y

38 PARISIAN LADIES' TAILORING SYSl EM

The Fundamental Pattern the Basis of Designing and Pattern Making

Now tliat \v(> liavc mastered the drafting of our fundamental pattern we

are ready to study the making of changes necessary to form patterns of shirt-

waists aiiil hlouses.

We shall also .see how garments may he lengthened or shortened, how the

one-piece sleeve can be drafted from our previotis pattern, and how collars and

cuffs witli all the multitudinous variations due to changing fashions can be made.

Of course only a few problems in construction are illusti'ated. l)ut these

are of such a nature that we feel assitred that the intelligence of our readers can

cope with further problems through the study of tliese.

We shall give tlie making of the sliirtwaist pattern first place in our illus-

trations.

The Shirtwaist In Its Different Forms

Fig. 41 shows us a shirtwaist pattern, the making of which will be fully

explained.

It A\(.iuld be advisable, however, for the pupils to study Figs. 42. 43. 44,

together with 41. in order to familiarize themselves Avith the changes made in

front, back, side, and upper and lower sleeves.

In Fig. 42 we have A—B perpendictdar to A—C. Place the fundamental

pattern (in lines) in such a position that b. the shoulder point falls

along A—B. and a, the neck cut-out along A—C at such an angle that c. the point

of center front waist line measures two ('2) unit parts of our scale of width from

d on A—('. Note that the dart lines have been left in the pattern, but as they are

of no value in our present problem, we ignore them.

Our fundamental pattern now takes position e—f—e. From f measure

along the c— f line prolonged, a distance to g. ecpials to one (1) unit part of the

scale of width, and connect e—g, as shown in lines.

We readily understand that the waist measure of the front of our shirt-

waist pattern is three (3) tmit parts of our scale of width larger than that of our

fundamental pattern, the extra allowance falling from d to e and f to g.

From d to C measure two inches and draw u—v. parallel to d—g. which

we note is our waist line. This extra length may be gathered for peplum above

or below skirt.

From point L a little to the right of the middle of the neck rounding a—b,

draw the line L—y, to form the V-shaped neck, shown in Fig. 41. The

line b—F. from the shoulder to a point lower down the front line,

shows a deeper cut-out. The triangle L— ci—y, in lines and triangle

b—p—F in — lines show how lapels couhl be made if desired, by

bending instead of cutting the pattern along the respective lines L—y and b—F.


Fig. 43 shows our periH-udieular A—B to A—C. "VVe place our funda-

mental liaek pattern so that the neck rounding should lie at i and h, in such

a position that k, our center back at the waist line, falls two (2) unit parts of

our scale of width from n.

We next place the side piece to the back so that the two pieces join at m,

and 1 of the side piece falls at a distance of one (1) unit part of our scale of

width from j.

From s to and from t to r is oiu' (1) unit part of our scale of width.

This extra allowance is made to give freer play for the arndiole and side, as

the shirtwaist must be more roomy than the ordinary tight-fitting garment. The

line X z. parallel to the waist line t—n of the fundamental pattern, is shown in

line, and gives an allowance of two inches to correspond to the changes

in the front. Our fundamental pattern is shown in lines and the addi-

tions to the pattern in lines.

In Fig. 43 we notice that we have made a one-piece pattern by joining the

side and back of our fundamental pattern. The new pattern is three (3) nnit

parts of our scale of width wider than the original, as explained above. If, how-

ever, we Avish the back in one piece we lay our pattern just along the length-

wise fold of our material.

In Fig. 44 Ave see the upper and under sleeve in lines. But as

our armhole in Fig. 43 has been nmde larger Ave shoAv in lines that

Ave haA-e added ] inch to each of our seams in order to fit tliis changed armhole.

except along the shoulders, front, and back, where :|inch is alloAved.

Along the front Ave make an extra albiA\anee of Ij inches in addition to

the 4 inch already allowed, to be used as facing.

We Avill shoAV the construction of collars, cufifs, and (litf<'rent sleeves as

Ave proceed further.

In Fig. 45 AVe give an example of a Avaist with slight changes in the con-

struction. otherAvise all the same measurements are to be made as in our former

pattern. Thi' changes are the foUoAving:

In Fit;'. 46 the neck cut-out d— f is continued to point e. Avhich is tAA'o (2)

unit parts of our scab' of Avidtli from the line A—('. This point e may be con-

nected Avith g as shoAvn in lines parallel to A— (', Avhich in turn is

joined to ('. If Ave cut along e—C, as shoAvn in lines, our lap-OA'er Avill

slope in toward the Avaist, Avhile the otlicr way it Avill contiinu' down in a straight

line, as in Fig. 45. Tliis increase. hoAvever, is only made on the right side, as only

this should lap over, Tlu- extra material left in this Avay on the left side Avould

be not only useless, Init in the Avay and, therefore, should be cut off.

In Fig. 47 Ave see the same pattern to the waist line as given in our illus-

tration. Avith the adilition of the lines on the shouder. corresponding to

our front iiart.


Fig 48 shows how the front and liack part meet along tlie center shoulder,

and also gives the formation of an extra shoulder strap in lines on

eithei' side of the seam. The liiii's in Fig. 46—47 show where this strap

falls on front and back to make the shoulder illustrated in Fig. 4.'i.

Fig. 49 shows a Avaist with three (:>) pleats in front and back, with a

low eollar-eut in front.

In Fig. "(O we observe that the neek rounding extends to n, which is one

and onedialf inches (H) from o, to give the correct V shown in Fig. 49. The

line f. one and one-half inches (11) from f and the lines parallel to it,

indicate where the original pattern sliould be cut to give room to make the in-

serts that are needed to form the pleats. These inserts are i of an inch in width

in the pattern, but may be increased or diminished according to the width of the

]deats desired.

Fig. 51 shows how our iiattern cut with the extra allowance appears. The

heavy line represents the fold, while the and lines on cither

side are brought together, and the pleat stitched along the lines.

Fig. 52 shows the back pattern with lines marking places for

]ileats to nmtch the front. This pattern is increased exactly in the same fashion

as the front.

Fig. ").'! shows us a waist with a yoke, which can be nuide in front and

back, or on either side only. Our figure shoMs pleats, but this fullness could be

gathered instead, both in front and in the Ijack.

The sleeve shown in this figure has a wide bottom curve, but could be made

differently, as will be shown later.

In Fig. 54 the line to e shoAvs the neck cut. The

111,,, Y—/„ the line s—f and the line v—x— f indicate the cut

for tile tlii'ee different styles of yokes, nanu'ly the deep, the shorter, and the

<'Ui'\'e(l yoke.

Tile jiarallel =^= lines i—g. an inch above v—z, indicate the deep

\-oke position after proper liending in of niati'rial along both cut edges for seams.

The short vertical lini's mark the pleats.

Fig. 55 shows the back with the i-elative yoke cuts; o— 1, the deep,

in — lines: c—1, the shorter, in -• lines, and h—t in

lines, the curve that is necessary to form a point at the center back, if desired.

We must not forget in Figs. 45, 49, 53, to nnd^e the allowance mentioned

in connection with Fig. 41, namely f of an inch for side seams, '} of an inch for

shoulder, center of the back and front, 11 inches in addition to the above men-

tioned 5 of an inch along the front for facing, and 2 inches for extra length be-

low tlie waist line.


1 /^^^^--^.~-.________^-rrx

46 PARISIAN LADIES" TAILORING SYSTEM

Fig. 56 shows us an upper and under sleeve of our fundamental pattern

reduced to one-eighth of full size. The two parts are placed in such a position

Avith reference to tlie liorizontal line A—B, that the points 8 and H are each 3J

inches from the axis A—B.

In the figure the full lines show the original sleeve pattern, while the

lines indicate the allowance necessary to make the sleeve fit the en-

larged armliole of tlie shirt waist. The lines a , u , and wmark tlie different sleeve lengths and widths tliat may be desired.

Fig. 57 shows us the a.xis line A—B, and the original fundamental sleeve

pattern in lines. In full lines we see the addition made to widen the

sleeve pattern in the upper part, to conform with tlie Avider armhole of the

waist.

The sleeve pattern has been so placed that tlie distance of tlie points s

and s from the central axis A—B is Si inches. The point c and e can be placed

higher or lower as desired, if the sleeve is made in eitlier of these styles.

Fig. 58 shows us the center line A—B, and our fundamental upper and

undersleeves. in lines.

Tlie points s—s are respectively 34 inches from the center line.

The line from L to s is parallel to our central line A—B,

and is to be used only as the dividing line of the upper sleeve. It is shown here

to demonstrate the fact that the width of tlie one-piece sleeve at the bottom, is

equal to tlie bottom width of upper and under sleeve together; that is, the dis-

tance s—X equals tlie distance s—r.

In the undersleeve we cut away the part beyond curve a—r. but we must

add the curve f—t, equal to o—a. to the upper sleeve, to give the correct arm

measure. The point t is connected with x. which is the same distance from s as

r. We have now a one-piece shirt waist sleeve which may be gathered at the

liottom or made shorter for an attached cuff.

Collar Construction

We are now prepared to consider the construction of different styles of

collars. The construction of a collar always depends upon the cut-out or lapel

of tlie garment. For a collar which will fit perfectly a low cut neck, will never

fit a higher cut garment. We must therefore always consider how deep or high

the cut-out of our garment will be. in order to make a perfect fitting collar, as

we shall see in the accompanying figures.

Fig. 59 illustrates the formation of different collars, suitable for shirt waists

and dresses. The front and back pieces of the fundamental pattern have been

placed shoulder to shoulder for the construction of onr collars.


o-

n-

m

cnm


In the front pattern the line a—1) I'epresents tlie pointed cut-out of the

neck, and the sluuled in triangle that part tluit is either eut otf or bent back to

form a lapel. Now following- the neck rounding, along the neck cut-out a—b,

from b to g in lines, from g to 1 in lines and 1 to e, the center

back, in lines, we see one collar pattern. Another can be traced from

b to f in = = == lines, from f to i in lines, and from i to e in

._. — lines.

Still another follows the curve l.i—<1 = = = = lines, d to e and e to c in

lines.

If. however, the turn back lapel is desired, the collar must be dififerently

shaped in tlie front. We notice one that, including the lapel in front, follows

the point of this in lines to f, then proceeds from f to i in

lines and i to c along the same lines as one of the collars previously con-

sidered.

A differently shaped one starts from the lapel point to f in

and up to i and c and one in - lines to t—e and from e to c, the

center bar!;.

Fig. 60 shows us more plainly that a collar which perfectly fits a high cut

neck will never fit a lower eut-out, or visa versa.

We notice in this figure a very low neck cut from a to b, which is bent

over for the lapel, as indicated in shaded lines, if desii-ed.

From 1) in to c, we see a shawl collar rounded in the back or

pointed to d. In this case no lapel is necessary.

Another style follows a—b. and then proceeds along the lapel to the point,

and from there in ^ ^ ^ ^ lines to i, and in •- lines to e. Here also

there is no extra lapel.

A dif'fci'eiit one is seen extending from 1i in lines to 1—g and f.

Still another shape ean be ti'aeed from 1) in lines to j. and from

there in lines to h and e.

If we make a collar from a to the point of the shaded lapel, and from

there in lines to k, through j to h, over i to e, we cannot fail to

observe that this collar will not fit a high neck.

In Fig. 61 the neck cut-out from a to b is shown in lines. Start-

ing at b in ===:= lines to c—e—f, and i, we have a collar with many points.

We show another from b in :::::::: lines to d, from there to j, and then in

lines to 1.

A smalliM- collar can be traced from b in ==•=•= to c and in

lines to r and n.

A collar rounded in front and square in the liack is shown starting from

b in lines over the rounding to h and 1.


Fig.62 POCKETS Reduced to One Fourth

50 PARISIAN LADIES" TAILORING SYSTEM

Pockets

lu Fig'. 62 we give several styles of pockets, and iu the lowest row three

different styles of pocket laps.

In the first row we see the finished pockets a, b and c, and below, indi-

cated by the same letters, the patterns for these pockets. The little rounding at

tlu' top of tlie finislied pockets we can easily make ))y cutting, as .shown in the un-

finished pocket. But we can also make the same straight along tlie top, if we so

desire.

d. e and f are finished pockets, and below, designated by the same letters,

are patterns for the same. The finished pocket e is gathered, and the =----===

lines in the pattern show the place of gathering.

In Fig. 62A we see how we find the position of the pocket, that is where it

belongs iu the jacket, skirt, or dress.

In full lines Fig. 62A shows us a front of a jacket, and in lines

we see an upper sleeve pattern placed with the higliest point of the arndiall to

the lowest point of our front shoulder seam.

The pocket is then placed about two (2) inches above the lower end of the

full length sleeve.

Cuffs and Sleeves

In Fig. 63 we again show different sleeves and cuffs, and again demon-

strate the cutting of a one-piece sleeve from a two-piece one.

In this figure, a—b—e, and d, show us four sleeves in one piece (as shown

in Fig. 58). The cuff's used here are constructed as shown in cuff's a—b—d. The

tops of the upper cuff' are cut respectively as a—b and c, in the figure. The

construction lines E—T—R. from the lower to the upper cut. are one

(1) inch apart to give the necessary fiare needed, so that the upper cuff should

not lie flat over the lower one.

p^lo-. e—g—h shows three dift'erent cuff's, of which we show the construc-

tion under e—g—h. Tlie uudersleeve in this pattern is marked in

lines and the upper sleeve in full lines. Tlie sleeves are placed with under arm

seams joining. Cuff' — in full lines is the pattern for cuff' e. The same pat-

tern, but pointed at the top, as shown iu e—g

—

li, is used for cuff h. In the

same figure, partly in full and partly in lines, is the pattern for g. This

cuff has its seam in the center of the under sleeve and therefore extends from

F to F beyond.

The construction of sleeve f—i—k is illustrated iu Fig. f—i—k.

The dotted curves from r to s, through A—B. show the required shape for

bell shaped portion of sleeve f. The heavy dotted lines added to our upper sleeve

su])ply tlie extra width necessary to make tlie three (3) tucks shown iu f.

Sleeves i and k. about identical with Fig. 57, are widened in the upper

sleeve in the same way as sleeve f.


The Cutting of a Circular Skirt Pattern

A skii't cau be made in one, two, three or more pieces, but tlie width of the

bottom depends npon prevailing fashion.

First we will endeavor to show how to cut a pattern for a circular skirt.

Remember that all skirts are cut and rcuieasured in inches, as taken on the

model for wliom they are intended.

We have shown previously in Fig. 12 and 13, how the waist line is con-

structed, and we recall that we had made this with a piece of thread held with

the thumb of the left hand, and a pointed pencil looped througli the thread

forming the arc.

Witli the tailors' square we form the perpendicular A—B to A—C as shown

in Fig. 64. On line A—B mark point x 2 inches from A. On line A—C mark

point a eighteen (18) inches from point A. Seven (7) inches from a, mark f,

the starting point of the liip line.

Next holding the tliread circle maker at x, Avith the left thumb, with the

point of the pencil start at a and mark oft' arc a—e for the waist line. Form the

hip line f—g in the same manner. We next proceed to build our pattern from the

measurement of the model previously taken.

In Fig. 64 our model measurements are used.

Length of skirt. :;{6 inches in front.

Lengtli of side. 36^ inches.

Waist measure, 26 inches. (13 inches one-lialf of tlie measure).

Length of back, 37 inches.

Hip measure, 40 inches. (20 inches onc-lialf of the measure).

From a along a—C measure the front length of tlie skirt (36 inches in

the figure.)

P^rom a, in a curve along tlie waist line, measure one-half around the waist

measure (i:> inches in the figure "i. marking the point e. Along tlu' hip line from

f. mark oft' at g onedialf of the hip measure (20 inches in the figure).

The point c, eciiiidistant from a, and e, marks the starting point of our side

line, as this line is invariably lialf way between tlie center front and the center

back.

As we liave licfore mentioned, the skirt widths vary with fashion's dictates.

We use for our model here a bottom width of two and one-half (24) yards, and

lati'r show how this may be increased or diminished.

From C which marks the length of the skirt at the center front, measure

along a slight curve a distance of 22} inches, or one-half the width of the half

skirt, marking the point n. From n in this way rei^eat this measurement to i.

PARISIAN LADIES- TAILORING SYSTEM 53


Connect e with n, and e and g- witli i. Tliese lines give us respectively the side

line and center liack of our skirt. Along the si<lc lini' mark off a distance equal

to tile side length measurement of the model (here '-'iGl inches). Along the center

back measure oft' the reqiiired length of back for the model (37 inches in figure).

Be careful to remeasure to secure accuracy. Now draw the bottom curve,

connecting the points marked to form the bottom sweep of the skirt.

As all patterns are without seams, we must allow § of an inch for these

seams, and make an extra allowance at the top and liottom for the hem.

The finished skirt is shown in Fig. (if). The pockets, should we desire the

same, we will find in Fig. 62.

Above P'ig. 64, we notice yoke patterns in lines. One is circular

with the waist line, and the other pointed in the front. These yokes are cut

exactly to the rounding of our waist line, and fit smoothly to the body.

Furtlicr necessary explanation relative to the back of the skirt, will be

given in the discussion following Fig. 66. In Fig. 66 we see the same circular

skirt, differently constructed, but giving us the same results if compared.

We have the perpendicular A—P> to A

—

('. Fi-om A we measure four inches

to a, along A—C, and from a, the point just made mark oft' at C a distance equal

to the length of the front.

Next from a. in a slant along A—B mark off at e a distance equal to one-

half around the waist measure (13 inches in the illustration). Connect a—e with

lines, and mark the center of this line o.

As the width of this skirt is identical -witJi that of Fig. 65. our method

of procedure to secure propi'r length of side, of back and lower sweep is the

same as previously given.

Fr(un point o, measure on a perpeiidii'ular 2 inches to c. Connect a and e

through c, with a curve to form the waist line.

As the body curves in in the center back at the waist line, it is necessary

to make a small cut-out from the straiglit length of the back. In Fig. 66 below

e, tills is indicated as a V between tlie dotted and the heavy line.

On either side of the line marking the length of side o, c, n, we see

the lines nuirked by r and s at the l)ottoin of the skirt, meeting one an-

other at the hip line. If the skirt is made in two parts these lines indicate how

it is possible to make the skirt narrower. From the hip to the waist line, a

small triangle is shown meeting the waist line on(>-half of an incli on either side

of c. This triangle shows the part to be eliminated in case the skirt is made in

two parts, in order to insure a perfect fit. Tims we find that our curved waist

is made exactly l:-! inches, by the cut-out of one (1) inch at c, and of one-half

(^) of an inch at e.


Both of our illustrations 64 and 66 could be cut in one or two pieces. If

cut in one piece, the lengtli of front is placed on the fold of the nuiterial. If

cut in two pieces, both front and back are placed on the fold and as a result

the two bias pieces meet at the sides. Care must be taken to tape both of these

seams, to prevent sagging of the material.

Fig. H shows a belt in the heavy lines. Two pointed yokes in different

shapes are marked in and lines. These are formed ou the same

principle as Fig. 66.

sFig.66

Fig.


The Cutting of the Gored and Pleated Skirt

"We iK.'xt lU'iiioustratc thv desiguiny and cutting of the gored skirt, and the

])lrated skirt. In order to be able to divide tlie widths of our gores in proper

]ii-oportions we must decide upon tlie width of the skirt ai'ound tlu= bottom.

Pig. 67 sliows a four-gorinl skirt measuring two and one-ludf (2i) yards

around tin' Ixittom. Tlie gores slunv they are cut from nuiterial .')() inches wide.

This skirt consists of a front piece cut on the fold, a side part, and a back

part cut on the fold. The same is sliglitly gathered.

We mention again that all skirt patterns are cut from measurenu'nts taken

from our figure, and are without seam or hem allowance, which must be added

in cutting the goods. Fig, 6SA shows A—C perpendicular to A—B,

From A along liue A—C mark points e—r—s, three-fourth (f ) of an inch

apart. Fi'om s measure ofl the length of the front along A—C to the

dotted auxiliary line (36 inches in the illustration). From this line measure J

of an inch to ('.

From C" unvisure 16 inches to i on the auxiliary liue. Tins gives us the

half of tlir bottdiii -width of the front gore, as tlie center front is laid on the

fold of the material.

Along A—B nu^asure 6 inches from A marking point o. Connect o and i.

From i—o along r measure in to E a distance of 1-^ inches. Connect s E with a

curved line, Fi'om the hip point u make the rounding u E, The waist line s E

measui'e 4^ inches.

Fig. 6S, B shows m—n parallel to< A—C, Measure 16 inches from n to,i

and li inches fi-om ni to g, (^'oiuiect g and j. The cut-outs from m to E

and from g to E are H inches each, or 'S inches together. Thus our waist liue

from E to E measures 4,^ inches.

Fig. 6S, C shows h—k parallel to A—B, The bottom line from k to 1 is

14 inches. From h to t. a cut-out of 11 inches is made, which leaves 12} inches

for tlie waist liiu' of the back gore. This width we gather to one-third, which

gives us a waist measure of 4 inches. If we add tlie waist measures of the dif-

ferent gores 4.^ inches, plus 4i inches, plus 4 inches, our total half waist measure

is 13 inches, which we find correct for this model,

AVe notice that all our cut-outs at the waist line in Fig, 68 A—B—C are

made fi'om u. This point is the hip liue 7 inches below the Avaist line.

We ol)serve also that the bottom of gores A and B are rounded to the

auxiliary lines, and the Imck gore is left straight on the bottom.


t/i-n^

Xmacn

From- E -To- 11 -Same as From- e -To -j -.

Length of Sides ..sy.

CR

FROM-t- TO -l^- SAME AS FROM- E-TO- j-

n

CENTER Length of Back on^a


Tlie sides of patterns A—B—C are marked to sliow joining seams, wliich

are the same length as shown in the figures.

The - lines in B indicate the line along which we remeasure the

length of side.

The short parallel lines in C indicate gathers.

Fig. 69 shows us practically the saun' etit'ect skirt, the oidy difference being

that Fig. 67 and 68 gave a four-gored skirt, whereas this is a skirt in six gores.

This change is partly due to fashion and jiartly to thi' fact that the material is

too narrow to permit cutting a wider pattern without jiiecing.

The perpendicular A—B to A—C and tJie measurements from A to e—r—s,

and the lengths from A to C, m to n, x to a, anil li to k, aiT unchanged.

The bottom of the skirt is 2:i yards wide, there being 20 inches each in

front and back gores. l>otli of whicli are laid on folds, and 10 inclu'S in each of

the side gores (the two in the pattern are cut double we must remember). This

gives us a total of SO inches, about 2j yards for the bottom of the skirt.

At the top of Fig. 70. A, from A to o is 4 inches, in B, from m to g 6

inches, in C, from x to z 6 inches, and in T). fi'om h to B 10 inches. The cut-outs

—u—E. g—u—E. m—u—E. x—u—E. z^u—E and h—u—t are each 1] inches in

width. Adding the front and side waist line nn_-asurements we get 9 inches. This

plus the back gore gathered to four inches, gives IS inches for half of the waist

measurement.

Further Ave observe the lines from w to k, in pattern D. which

we foIloAv sliould Ml- desire to leave out the gathering in the back, and make a

fitting back.

Fig. 71 shows a plaited skirt. There plaits can be made closer together

or farther apart as desired.

Fig. 72 from A to B gives a pattern of a plain plaited skirt. The center

front fold forms a box plait, with the plaits on both sides facing tin- back.

Fig. 73 shows l)ox plaits wiiich can lie jilaced closei' oi- farther apart as

desired.

In the next few lessons we will show how to diangc our fundamental

waist pattern, to one witli seams running to the shouldiT botli in front and back.

We will also endeavor to show how to make a variety of dresses by combin-

ing different skirts and waists.


From-J^ -To -t- Same as From E-To-C-

Cente„ Length of Back on FoldD3


PQ

anoj NO d3i.N30 -<

\....

bJD

N-

anod NO >i3j.Na3

X. hXou

z

CO 2

bJDa

-U

-c/i


Changes from the Fundamental Pattern to a Pattern Seamed to the Shoulder in

Front and Back

Fig. 76 shows a skirt with a yoke pointed in front, and a waists with seams

to the shoulder both in front and back. These seams take the place of the usual

dart, and extend entirely to the shoulder, thereby giving a longer line effect.

Fig. 74 shows the perpendicular A—B to A—C, the fundamental waist pat-

tern in full lines, the former basque front in lines a—e, and the front

line of the dart in lines from j.

From point i on the shoulder line, Avhieh is two unit parts of our scale of

width distant from the armhole, connect i—j in lines for a construction

line. Then draAv the slightly bov.'-shaped line i—j, in full lines, so that o is one-

half (i) of an inch to tlic left of the eonsti'uction line. Connect o and the second

dart with a slight rounding.

Cutting along the full lines we have now divided our front into two pieces

with seams reaching to the shoulder.

Fig. 75 illustrates the formation of a back pattern with seams reaching from

the waist to the shoulder.

The fiuidamental shirt waist back connected with side part pattern is

shown in full lines. The line t—s is the basque back, originally made.

The — lines indicate the joining of side and back of the original basque

to from the one-piece shirt waist back.

From point h on the shoulder line, two unit parts of the scale of width

from the armhole, draw h—g in lines. Next draw the full line h—g,

curved about one-half (1) of an inch slightly to the right. Connect the former side

lines with this line, as high up as it formerly reached in the arm rounding. Cut-

ting along this line will give ns a two-piece back with a seam from the shoulder

to the waist.

In both Fig. 74 and 75 the waist extends only to the waist line. We must

add about two inches to this length in order to properly connect waist and .skirt,

and to finish neatly.

As mentioned before we must allow for all seams. For the proper lapping

of buttons and button holes, in the front we must have an additional allowance

or provide a separate piece for facing.

We must also mention here that the point of the cut-out of the neck, is

invariably the point where the collar starts.

In Fig. 77 we shoAV a dress Avith yoke in front and back, and plaited both in

front and back below the yoke. This is a combination plaited skirt, and bodice

made from a shirt Avaist pattern, Avith collar as desired. The bodice and skirt are

joined at the Avaist line to the belt of the skirt.

Fig. 78 is a plain skirt and shirt Avaist. extended to the desired length. Thebelt reaches twice around the Avaist line, and ties in front.

Fig. 79 is a dress made from a shirt Avaist pattern and a plain skirt joined

at the Avaist line. The belt ties in front, and a pocket is placed on the right side.

Fig. 80 is also a combination of a simple shirtAvaist and a plain skirt. It is

made Avith a belt pointed in front and can have any desired collar shoAATi in

Figs. 59, 60, 6L


CQ


Arranging the Fundamental Pattern for Suits, Jackets and Outer Garments

As wo all know a ladies' suit consists of a skirt and jacket. In this

chapter we will consider the changes necessary to plan a suit using our funda-

mental pattern.

Our shirtwaist pattern as previously shown, will give any kind of loose

jacket with plaits or shirrings in front, or in the back, or in both of these parts.

In Fig. Si we give a jacket of a suit, which resembles Fig. 74, the only

difference being that the pattern in Fig 74 is constructed only to the waist line,

while Fig. 81 is made to the hip line. All explanations and measurements are the

same as previously given.

A

REDUCED TO ONE FOURTH

Co

cO

111 C

PARISIAN LADIES' lAILORING SYSTEM 65

We notice also in Pig. 81 a piece marked front facing-, wliicli is a dnplicate

of the front part, but is only 2iV inches wide. To this we must make all additions

from A to C as exijlained with reference to the front in Fig. 74.

Fig. 82 shows ns the side and back part put together the same as in Fig.

75, but instead of drafting the pattern to the waist line, we continue it to the

hip line.

In Fig. 75 the side part, as we notice, extends from h to z at the waist

line, and the Avidth of the back at the Avaist line from g to r, that is to say, that

the back from h to t is just as wide as from g to r with a little curving in be-

tween.

B u

Hyp

wReduced to One Fourtfh

-ine

A

t

C

We notice in Fig. 82 the

construction line connecting h—1.

The point 1 could be brought either

to the i-ight or left of its present

l^osition. without aft'ecting the shape

of the pattern. Its position deter-

mines the narroAvness of tlie back at

line thus making our back

smaller at the waist line.

The distance 1—x. our cut-out, is

equal to g—z. From x draw the

heavy curve parallel to z—

•

h meeting the back about at the

same height as formerly, and form-

ing a new side line which folloAvs

the exact curve of the other, x and

1 are connected with w at the hip

line.

We notice noAV that the pattern

is broad across the shoulder blade in

the back and curves in to a narrowwaist line. Through this change the

side part is Avider than formerly.

Fig. 81 and 82 shoAV a jacket

seamed from the slioulder both in

front and back, extending to the liip

line, or any length desired. This in

coiniection Avith a skirt gi\'es us a

tAvo-piece suit. Sleeves, pockets,

cuffs, and suitable collar, are in ac-

cordance Avith explanation previous-

ly made.

Before Ave jDroceed any further,

hoAvcA'er, Ave Avill consider the mak-ing of tailor-made collars.


The Cutting of Collars for Tailored Suits and Cloaks

111 Fig'. 83 "we see a standing collar M"itli a pointed or roniided top.

Tile diagrams a and b are the same except that a is rounded, and b

pointed in I'ront. Otlierwise. as we notice, they have the same measurements.

In a and li there are two sets of auxiliary lines placed two inches

apart. The distance between the two lines in each set is i of an inch.

The length of these lines is the half h'ligtli of the collar, namely 60 inches.

We see in the pattern how the collar is shap(Ml around them.

In a. wr notici' that a rounding is made in front and in b, that :,' of an

inch on each half collar has been a(bled in front for buttons and buttonholes.

Fig. d and i- sliow a poinfrd and a roundi'd collar.

Diagrams c and d explain how these are made. The center line

is 2i inches from the base, and the top 2 inches from this center line.

The rounded upper cut-out is connected Avitli the upper curve of the stand-

ing collar, and as botli are the same width, they will fit exactly leaving the extra

allowance free for buttons and Intttonholes.

Diagram e, presents a front with a la]iel and a tailored turn-down collar

in lines. In full lines we see how the collar appears turned over in po-

sition.

In liiii-s we see an allowance oi 11 inehes for lapping in front. An

extra front facing must also lie cut for the garment.

For collar pattern e, draw line A—O S^ inehes long. Line U is placed J

of an inch below A—0, parallel to it, and line I) paralbd to A— li inches above

it. The perpendicular E is drawn 51- inches to the left of A. Point N on line U is

half way lietweeii and E. From N draw curve N—A meeting —A half way

between E and A: tliis gives the bend of tlic i-oljar. The collar is completed by

connecting O and T. and O and D, with eur\'cs as s]lo^^•n in the figure.

At tli(> center liardv we notice a triangular cut whi<-h gives the collar the

correct shape if made in two pieces. If however, the collar is cut in one, on a

fold at 1)—A—U, the lower portion N—A

—

V must be pressed in. while tlie upper

part X—O—D—A must be strrtcheil. to secure the jiroper rounding needed for

a good tit.

Fig. f, shows the same coat with a shawl eollar.

In the working diagram f, A—O is 10' inches long, E 5i inches from A. U

J inches below —A, and D Ti inehes above it. The lower curve on is the

same as in Fig. e, previously shown. The curve O—D crosses line E about -J

inch from the top. The same principle applies to the shaping of this eollar at

the center back as previously explained for Fig. e.


Fig. 8 3 COLLARS.

Reduced to One Fourth


In diagi-ain g. Ave see the same collar as exijlaiued in e, except that here

the lapel as well as the collar is rounded.

Diagram h, shows iis the same as diagram e, but we see in lines

that we have added a piece at the neck cut-out. to get a longer and more

pointed lapel. The collar is the same as in e. In cutting our front facing wemust not omit this extra piece, in order to make it correspond with h.

Fig. 84, A shows a tailor-made jacket, IS inches long which can also be

used for a suit coat. It is tight fitting and has turned back cufifs. and high

turned-down collar.

84 F, shows the fundamental front 'lattern with darts in lines.

There is also a line marking the seamed front from the dart lines to

shoulder. Either front can be used for the pattern.

The cut-out for the neck in the fi'ont is always the starting point of the

collar.

G shows thr side, and II tin' back of the fundamental pattern in

lines.

TIu' waist lini' in F—G and II is marked with lines, and the hip

with lines.

Along tlie center back in H we notice below the waist line a tlap one inch

wide for the slit if we intend to make one.

All parts of Fig. 84 F—G and II are without scams which we must add:

one and one-half (II) inch in front and an extra facing as explained in Fig. 81

being needed.

R and N are the patterns of the two-piece sleeve used in this jacket.

Fig. 85 shows an IS-inch jacket semi-iltting in back and loose in front.

N is a pattern of a front facing, and F—G and II show the fundamental

pattern to the waist line in lines with collar and lapel likewise so

marked.

F shows tile right angle cutting through the starting point of the collar

and the extra inch and one-half added in front. As the distance of two inches,

from the fundamental pattern to the iiei'iiendicular is also allowed in accordance

with previously given patterns, we readily see how we secui'e the loose front

shown in A.

In II the back piece, the same allowance of two inches at the Avaist line,

which has previously lieen explained, gives the looser back.

D is a pocket. O a enlf, and R a collar, tlie measurements for which liave

lieen previously explained in Fig. 8.3 e.

Fig. 86, A shows a loose jacket to be used either for a suit or coat. It is

18 inches long, extending 10 inclies below the waist line. Our illustration is

made with belt and pockets.


R

/ I

N

/

' /

/ ;

/ /

/ /

/ /

/

/ Fig. 84

I

•-•I

')

\ ;

\ /

\ /

. y- ]•

*I

I

Reduced to One Sixth


We see in F and 6 the fundamental pattern to the waist line in

lines and as this garment is cut on the order of a waist, we have added two (2)

unit parts of our scale of Avidth at the waist line in front and an extra allowance

for buttons and liuttonholes.

The tailored lapel and collar begin at the neck cut-out; the lines

show how these look Avhen finished.

In G we have allowed one unit part from the armliole to the waist line,

down the length of this garment as exjilaiucd in former constructions and as

we have made the seamed front, F and G must each be cut separately.

H and D are also separated by the seam from the shoulder, and the

lines in H show the allowance necessary to conform with the waist pattern. D,

which is a straight back, should be cut on the fold at the center back.

In R and N the upper and nndersleeve patterns, we notice in lines

the allowance of |- of an inch on each seam made in the upper parts of the sleeve

to conform with the allowance in the armhole of the side piece.

Fig. 87, A shows a semi-fitting jacket which could also be used for a suit

coat. The front and back are seamed to the shoulder, and the pointed lapel is

larger than previously shown.

In F in lines we have the fundanu'ntal pattern to the waist line.

At the neek cut-out, the addition for the pointinl and larger lapel, I of an inch

in width is marked by lines slanting in from the collar to the waist line.

The bottom front can be cut either sqiiare or rounded as illustrated.

G shows the regular pattern, and both F and G are cut separately as indi-

cated by the seam in the front.

In 11 and I the lines show side and liack pattern joined and also

the construction of the l)aek narrowed in at the waist line.

AVe see also the upper and under sleeves of the regular fundamental pat-

tern and a small replica of the tailor-made collar, the measurements and the con-

struction of which are given in Fig. 83 e.

The pattern for the upper and lower parts of the two-piece sleeve is also

given.

Fig. SS shows a double brea.sted jacket with a plain turned-down collar

composed of the standing collar of Fig.SU h. and the turned-down portion of

Fig. 83 d. In F in lines to tlu' waist line we have the fundamental pat-

tern. N to the lines shows the usual addition from the collar jjoint a.

The distance between these lines and the line marks an addi-

tional allowance of 2^ inches for the double-breasted effect.

N is cut in one piece with F. 6 is cut separately. A front facing as

shown in Fig. 81 must also be made. If tlie double-breasted effect is desired

the additioiud allowance of 2h inches as previously explained must also be made

to the facing.


1

D


Reduced to One Sixth


II and I again show the fundamental patterns phieed in tlieir relatively

positions in lines, but each of these parts is cut separately as indicated

liy the lines.

Furthermore we notice from the waistline downward in F, H and I an

extra allowance of 2-^ inches outlined Avith lines slanting from the

waist line, for a ripple or flare in the back as shown in Fig. B, should we desire

the same.

Any of the patterns formerly shown could Vie used for a garment of any

length by simply prolonging the pattern to the length desired.

Fig. 89. F shows a long cloak with turned down collar, large pockets, deep

cuffs and belt.

The diagrams A and T show in line and in line the

fundamental pattern to the waist line, and in heavy lines the usual addition from

the ai'mhole to the waist at the side.

From A the neck point we see the addition to the front to G. The lower

front piece A is cvit in one with the front waist, and measures along the bottom

24 inches from G to H. T is cut separately, and is 15 inches wide both at the top

and l)ottom. The distance between the lines and in lines the

from the second dart downward is the allowance for the seam.

We see tliat T extends i inch above the Avaist line, and that J of an inch

is allowed on the fundamental waist pattern from the second dart down. These

allowances are for seams. •

The short lines along R— indicate that this part should be gathei'ed to

the width of the front side piece.

In C we see in one piece marked in lines, the back and side with

the addition at the waist line as in the shirtwaist pattern, and also with the ad-

dition from the armhole to the waist along the side. This pattern is cut on the

fold as shown, and measures 21 inches along the bottom from T to V. E and Nshow the regular fundamental sleeve in fidl lines, and in lines tin:' ad-

dition made to fit the enlarged armhole.

The = = === lines mark a length of 48 inches from the neck, the full

length of pattern being 54 inches.

The collar of this coat could be cut in two pieces according to Figs. S3 b

and 83 d. or after pattern II Pig. 89.

In H we have a one-piece turned down collar. F and E are parallel to S

at the respective distances of 2^ and 3^ inches.

R and F are each 15 inches long and connected as shown in the figure.

P'rom points '[ of an inch from each end of F perpendiculars are drawn to E

in lines, making E 131 inches long the correct collar measurement. The

lines from F to E show a possible cut for a collar if desired. The

extra pieces ; of an inch on each side between F and S. serve as allowances for

liutton and buttonholes.


The bottom curve below S gives a better fitting collar and allows a freer

ueck movement.

We could cut this coat in a different fashion. The entire upper portion

could be cut to the waist line and tlie lower portion to R, and the part from Hto G could also be separate pieces.

Fig. 90. R shows a double-breasted coat with pockets, cuffs, belt and a

standing collar to which a sailor collar is attached.

F shows the front facing, and S and O the two pieces in lines.

We have also the regular fundamental pattern with the addition to the waist line.

At the neck cut-out, we notice in lines along the length the regu-

lar addition foi- buttons and buttonholes, and in full lines 2J inches from C to Rthe addition for the double-breasted coat.

The upper waist portion is extended below the waist line from E to S,

and the lower part extended above the waist line, to E—S. These two addi-

tions are necessary for the seam allowance.

The garment measures 251 inches along the bottom from R to P. AVhile the

additional piece measures 6 inches at the top from E to S and lOJ inches along

the liottom from P to C.

Diagram Y shows the addition to the fundamental pattern in lines.

The back and side parts are cut together. They extend i inch below the waist

line, this being tlie allowance for the seam.

L is cut on the fold i of an inch higher than the waist line to allow for

the seam. The bottom from L to F measures 25 inches.

We notice that L is gathered at the top from the center of the back to

the center ]iack seam.

]M and I show the regular sleeves in full lines and the addition

for the wider armluile in lines.

This coat is 36 inches from the waist to the bottom, or 54 inches through

the entire front length. The :=^== Hues are 6 inches from the bottom.

Fig. 91. R shows a single-breasted coat seamed to shoulder in front and

back with lapel and tailor-made collar, and attached cuffs.

E shows the front facing and L and G tlie two pieces of the front, the

addition in front being allowed for buttons and buttonholes.

N is the side part, and the back, whieli is cut on the fold as indicated, is

marked A.

d. b and m show the construction of the cuff.

In all five pieces of this pattern we notice the lines wliich indicate

where to cut this pattern, should we desire a 42-ineli length coat, the whole

length being 54 inches.


m Front Facing


Along the bottom the widths are as follows : From R to L 15 inches, from

L to F 16| inches, the side part from A to T 15 inches, and the back from E to

M 7| inches. Thns the half width of this garment will measure 54 inches, and the

Avhole sweep of the coat will be 3 yards.

Fig. 92, G shows about the same coat in double-breasted effect. H is the

front facing, T and R the seamed front parts, A and E the seamed side and back

pieces, the latter of which is cut on the fold.

The length of this coat is 54 inches to the bottom, or 48 inches to the

=^= = lines, but it could be made any length desired.

The width of the bottom is as follows : 16^ inches from F to 0, 164

inches from L to C, 13 inches from A to R, and 10| inches from S to B.

a and b show the regular fundamental sleeve, and c the regular tailor-

made lapel collar. The lines mark a collar deeper in front and wider in

back, and the lines one still wider both in front and back.

We again wish to impress the fact that all our patterns are made without

seams, and these therefore must be allowed for either in cutting the pattern or in

cutting the material.

f of an inch allowance should be made for all seams unless otherwise

stated. At the shoulders, the back center seam (if cut in two pieces) and along

the front, f of an inch is required. Along the front an extra allowance must be

made for facing.

When heavy weight material is used for jackets and "coats, it is necessary

to make an additional allowance of ^ of an inch at all seams to take care of the

extra bulk of material.


The Cutting of All Kinds of Capes According the Fundamental Pattern

Fig. 9o, W shows us a cape wiiich we can make any desired length.

Fig. 93 shows in lines the front and back of the fundamental

pattern laid along A—B and A—C. These lines are made with the tailors' square

perpendictdar to each other as previously explained.

A

Fig. 93

B

,i4

OQ

1^— ^

s '

\ I

•. I

I

\

Front

'\

REDUCED TO One fourth

Vd-


The front neck cut-out is placed along A—C in such a way, that tlie waistline d is two unit parts of the scale of width from A—C. Tlie shouhler line oftile back meets the shoulder line of the front at its lowest point, and the neckcut-out of the back lies along A—B in such a position that the waist line u is

two unit parts of the scale of width from A—B.

We next connect a, the

highest point of the front

shoulder line with c, the

highest point of the side

armhole in line

; as shown in Fig. 93, and

'-N, "^^ prolong this line

to e. This gives us a side

line for remeasuring the

length desired for the

cape.

«N

Fig. 94

\

;/

\\ \

\

\

\

o(.

V--

Front

\ \

II

/ /

\

//

//

,REDUCED TO ONE SIXTH /

/ //

/y.\ /

/>k

From tlie neck cut-out

of botli front and back wenow mark off the lengths

desired by a circular line

passing thi-ough the side

line connecting front andback, Avhich will give us

the bottom of the cape-

rounding.

The cape shown in tliis

figure is seamed along the

shoulder as we notice bythe V cut between front

and back shoulder seams.

Fig. 9-t shows another

cape without seams.

In this pattern our con-

struction line is A—B, andthe fi'ont fundamental

pattern is placed along

this line, so that d falls

two unit parts of the scale

of width from it.

4---'-"' ^^ The shoiilder seam of—--^ the back is now placed to

'

the shoulder of the frontso that the neck cut-out of both front and back forms a semi-circle.

We now joint the ends of this semi-circle

center of the line a.

with- lines, marking the


We next mark tlic desired lengtli of the front, tlien tlie desired length of

tlie side fi'oni tlie slioulder line neek eut-out. and tlie desired length of the back

from o to e. and draw tlirough these iDoints a semi-eirele with a as the center

point. In the fignre tliree ditTerent lengths are given marked in lines,

lines and lines.

The center of the back o—c is laid out on the fold of the material. If a

more flaring cape is desired, onr line o—e may be pivoted from o towards c—

A

any distance desired, as this will give lis a more flaring ett'ect.

Fig. 95 gives a cape with a separate

sleeve set-in, which can be extended

the full length of the cape or cut

shorter if desired as shown in Fig. 96.

The construction of both of these

capes is shown in Fig. 94 in

lines. The sleeve is shown by an are

from k through d. the highest point of

the shoulders to g.

Cutting along tliis line will give

us the front and liack in one piece; the

second piece is the so-called sleeve as

demonstrated in Fig. 95.

Fig. 96 shows the same cape with a

shawl collar instead of a high standing

one. The sleeve part joining the back

and front is cut away after the desired

length of sleeve is reached.

The corresponding parts are sewed

together to form the sleeve.

The darts shown in the front funda-

mental pattern are ignored in cape

making.


Table HI

For Professional Designers

(See Table III—IV)

In examining the upper sleeve pattern for a 36 figure marked in heavy

lines, we notice construction lines from A to B and A to C in lines.

These lines make respectively larger and smaller arm-halls as indicated by

A—B, and higher or lower elbow points indicated by A—C.

The grading lines which indicate the different sizes are respectively f of

an inch apart in the upper arm back-seam, both in width and length, but at the

top of the arm-ball gradually diminish in width toward point A in the underarm

seam.

In the under sleeve the 36 pattern is marked in heavy lines. A—B and A

—

C in lines mark respectively the highest and lowest point of the under-

arm cut-out. and highest and lowest elbow point.

The gradings are ^ of an inch apart for width, and § of an inch is allowed,

the same as in the iipper sleeve for the length.

The curve of the underarm cut-out increases in enlarging, and decreases in

diminishing our fundamental pattern to meet the grading lines of the back under-

arm seam.

Table IV

The front of our fundamental pattern for a full size 36 figure is here shown

iu lines.

Note the lines from points {' to E and D. and from point F to Kthrough C and F to S. These lines are used as guides in grading the pattern. In

front and at the sides '/i^ of an inch is either added or deducted in grading.

In the side part we see the lines N— —V and —P. —P is the

guide for grading to sizes smaller than 36, and —U to those larger than the regu-

lar 36. The grading lines are ^/^,. of an inch apart.

In the back the grading lines are on the average '/-^^ of an inch apart,

the construction of same being guided by the line A—B.

By adding the grading distances of the front "/j,., side 'Vni, and back '/,,.,

we have increased or diminished our half pattern one inch. Doubling this on the

whole pattern we obtain the size of the pattern, as all patterns are graded on a

two-inch scale.

The table also includes a schedule of all necessary measurements from 30

to 48 bust measure.

Remarks

As all patterns are made without seams, we must allow | of an inch for all

seams in the upper and under sleeves, and li inches in the length for turning

under and facing.

In the basque f of an inch is allowed on all seams, except at the front,

shoulders, and center back, where an allowance of J of an inch is made.

In addition to this, to the center front an allowance of li inches is made

for single-breasted effect, and from 2 to 2i inches for double-breasted garments.

The usual | of an inch allowance is made for cuffs, collars, pockets, etc.

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